Swayzak vs. Theorem – 020100

‘020100 (Swayzak Mix)’ is a very interesting and precise track from Swayzak and Theorem, and I would like to explain more.

There was a strain of minimal or deep minimal, starting and appearing in about 1999, peaking in 2000, 2001, 2002 and 2003, then seemed to disappear when we got to about 2004, being played that was different to what was coming out at this time, typically from labels like Kompakt, Source Records, and so on. It was less typically German, microhouse and clean, but more deep, groove-based, rough and international.

This track ‘020100 (Swayzak Mix)’ and strain of minimal that it is, is not described very accurately or well by the term minimal or deep minimal. However maybe the below are better descriptions? (you decide):

• Progressive variation?
• Deep minimal progressive variation?
• Deep minimal variation?
• Minimal progressive variation?
• Progressive minimal?
• Deep progressive minimal?
• Progressive deep minimal?

This strain of ‘progressive deep minimal’ music (whatever we want to call it?), is usually repetitive and has loads of soul, depth and warmth. This is where the joy is, to listen to this type of music ‘variate’ and ‘unfold’, it seems to progressively variate the sounds and compositions, that is highly stimulating and mesmerising.

Here are some defining ‘progressive deep minimal’ tracks:

• 01 by Akufen. Oral, Canada 1999.
• 0101 (1996) by Concept 1. M_nus, Canada 1998.
• 020100 (Swayzak Mix) by Swayzak vs. Theorem. Swayzak Recordings, UK 2002.
• 12 November 18.20 Pm (Reduced) by Shapes & Forms. MP3.com, US [2001?].
• 17 & 4 (2) by Michael Mayer. Kompakt, Germany 1999.
• 23° by Dynamo. DIN, Germany 2000.
• All It Takes (Edit) by Pacou. Sonic Minds, US 2003.
• Architextures 1 by Akufen. Hautec, Canada 2000.
• B1 (Dub) by Salz. Salz, Germany 2001.
• Brond by Mikkel Metal. Echocord, Denmark 2003.
• Dedicated 2 All Believers Part 1 by Heiko Laux. Kanzleramt, Germany 1997.
• Deep Service by Multipliar. Trapez, Germany 2000.
• Different Tribes by Exos. Symbolism, UK 2002.
• Everytime by Soulphiction. Perlon, Germany 2000.
• Extra Vergine by Maus & Stolle. Klang Elektronik, Germany 1999.
• Framework by Altitude. Blue Recordings, Canada 2000.
• Frank Mueller Melodram by Ricardo Villalobos. Perlon, Germany 1999.
• Freedom Engine-01 by Mathew Jonson. Itiswhatitis Recordings, Canada 2002.
• G4 (B2) by Monoder. Statik Entertainment, Germany 2003.
• Giganten by Closer Musik. Kompakt, Germany 2002.
• Greyscale For Slow Building by Konrad Black. 240 Volts, UK 2000.
• Heavy Circles by Dean DeCosta. Plug Research, US 2001.
• Homonym Cask by Kit Clayton. context, US 2001.
• JS-01 by JS-01 (James Zeiter). JS, UK 1997.
• Lava by Jirku/Judge. Onitor, Germany 2003.
• Lila 3 by Studio 1. Studio 1, Germany 1996.
• M-3 (dcv08) by Techniker/Delayvarience. DeepChord, US 2000.
• Nachschub (Michael Mayer Remix) by Wolfgang Voigt. Kompakt Extra, Germany 1999.
• (neo)Moronics Part III by Moron. Tektite Recordings, US 1999.
• Night Of The Living Deaf (Track 3) by Christian Morgenstern. Forte Records, Germany 1998.
• On And On by Aril Brikha. Transmat, US 1999.
• Phake And Phoney by Soulphiction. Perlon, Germany 2001.
• Phragmadia by Hexaquart. Force Tracks, Germany 2000.
• Reiteratingiteration by Kit Clayton. Cytrax, US 2000.
• Sci Fi by Nick Rapaccioli. Vertical Form, UK 1999.
• Slope by Jacek Sienkiewicz. Klang Elektronik, Germany 2002.
• Soundbarrier by Maus & Stolle. Klang Elektronik, Germany 1998.
• Summer (Nick Rapaccioli Remake) by Pub. Vertical Form, UK 2000.
• Sweet Sweet Morning (Swayzak Remix) by Martin Landsky. Poker Flat Recordings, Germany 2001.
• Taxi by Maus & Stolle. Klang Elektronik, Germany 1999.
• Tech Hikers by Project Remark. Plug Research, US 2001.
• Timebomb by John Tejada. 7th City, US 2001.
• Tip by Ben Nevile. context, US 2001.
• Untitled (B1) by Primitive Urges Volume 1. Primitive, UK 1997.
• Untitled 03 by Sutekh. Force Inc. Music Works, Germany 2002.
• Untitled (M5 – A1) by Maurizio. Maurizio, Germany 1995.
• Untitled (Deconstructed by Sutekh) by Safety Scissors. Delay, US 2000.
• .Wavemail Project EP by Sutekh, Safety Scissors, Swayzak, Twerk. 240 Volts, Europe 2001.
• Western (Salz Remix) by Philippe Cam. Traum Schallplatten, Germany 2000.

The title of ‘All It Takes (Edit) by Pacou. Sonic Minds, US 2003’ is worth noting because it raises the question: how much does it take for music to be interesting and stimulating?, what is the minimum you need to create and achieve a highly interesting and stimulating grooving track? Well this type of music, tries to answer and explore this question. ‘020100 (Swayzak Mix) by Swayzak’ is very of the strain, of ‘progressive deep minimal’, it captures the essence of whatever this musical strain is and what was going on in this area, at that time. So little is known about this musical strain and style, it did not stay around for long. Swayzak used to play a lot of this type of music on their Groovetech.com Radio mixes, and 1 of these mixes can be found on Swayzak’s SoundCloud webpage titled ‘Swayzak, Set 3 of 3, Groovetech.com Radio, 2001’, and their compilation ‘Groovetechnology v1.3’ in 2002, also promoted this strain of music.

The main places this type of music was coming from between 1999–2003, was from:

• San Francisco (Sutekh, Safety Scissors, Twerk, Kit Clayton).
• Canada (Akufen, Mathew Jonson, Richie Hawtin, Konrad Black, Cynosure label, Matt Thibideau).
• North America (Stewart Walker, Matthew Dear, Geoff White, Dean DeCosta, DeepChord, Warmdesk).
• Iceland (Exos, Thule Records).
• Germany (Maus & Stolle, Basic Channel, Force Inc. Music Works label, Wolfgang Voigt/Studio 1, Phon.o, Porter Ricks).
• United Kingdom (James Zeiter, Swayzak, 240 Volts label, Verdant Recordings, Mosaic label).

And it is this mix and clash, going back and forth across the North Atlantic Ocean, that basically created and fuelled this ‘progressive deep minimal’ musical wave and movement.

In the 1960s (I believe), when electronic music started to gain momentum, people and even musicians would say ‘this electronic music is not proper music’… They could not have been more wrong. Less is made into much much more.

This kind of music is hard to find nowadays, both the old and new stuff. An amazing era, highly satisfying and stimulating music that came and went too quick. Music for groovers and certainly worth more exploration!

(Please note: this review may not be 100% accurate, but I have tried my best, using my knowledge.)

This is by far one of my favorite records in the collection. So simple and perfect .

Nice combo here. Tech house the way it should be. You could say dubby but its bad enough we have to describe it as tech house already isn't it? Swayzak's output from 1997 to 2000 was for most part some of the best tech house there was. Combine Theorem and swayzak and you get a breezy mixture of cut up style and ambience to satisy any house or techno fan. Pretty much every versus 12" inch is pretty solid on any of the swayzak, minus or Volt music labels. A version for every part of your set. Theorem's version get the full A side and I think that is justified. His version seems to stand out the most but all versions are solid. My neighbor just asked me to turn it down. Deep baseline for sure